PUBLISHED QUARTERLY ^ythe
SUBSCRIPTION, tOOA YEAR. - OCTOBER.JSJS
('.Trt^fiirl, ;\..i»u^. ?7. iOCi3
a:* PhiUdfllijMfc TtL. fts Sftcaod-Claw Mttl«r« tmd«r Act of Congrtw of JtUy W, 1894
AND SCHOOL OF INDUSTRIAL ART
The GovEUNoa of the State, Bx-Of. The Mayoe of the City, Bs-Qf,
Mrs. Rudolph Blankenbukg Chari.bs H. Harding John W. Pepper
Charles Bond Thomas SkeltOn Harbison Theodore C. Search
James Butterworth John Story Jenks Edgar V. Seeler
John G. Carruth John H. McPadden Mrs. Joseph F. Sinkoti
Harrington Fitzgerald John D. McIlhenny Edward T. Stotesbuht
Mrs. Henry S. Grove Mrs. Arthur V. MsiGS Jambs F. Sullivan
John Gribbel •John T. Morris Wiluam Wood
- ' > Vice-Presidents
THEODORE C. SEARCH, President.
JOHN STORY JENKS,
JOHN G. CARRUTH,
JAMES BUTTERWORTH, Treasurer
EDWIN ATLEE i3ARBER, Secretary
LESLIE W. MILLER, Principal of the School
EDWIN ATLEE BARBER, Editor
for October, nineteen littn^re^ and fifteen
Gothic Chest Fronts (The McIlhenny Collection). By Mrs. Cornelius
The Coming Tapestry Exhibition 55
Recent Accessions. By Edwin A. Barber . . . . . , .57
List of Accessions 65
General Information 66
THE PENNSYLVANIA MUSEUM
OCTOBER, 1915 THIRTEENTH YEAR Number 52
THE McILHENNY COLLECTION OF GOTHIC CHEST FRONTS
Mr. John D. Mcllhenny has recently secured a series of two chests and
nine carved fronts of old Gothic French and possibly English chests, ranging
from the early sixteenth or late fifteenth to the seventeenth centuries. These
are now on exhibition at the Museiom. Three of the fronts bear dates respec-
tively 1631, 1650, 1657. Four are considerably older and belong to the six-
teenth century. The one shown in the first illustration cannot well be later
than the beginning of the sixteenth century and may go back to the end of the
fifteenth. The panels are of true linen-fold design, with fenestral Gothic
decoration of great beauty and delicacy. Its general condition also would
suggest a much earlier date than any in the collection.
The next in point of age probably is that represented in No. 2. This also
shows true linen-fold paneling. In the center runs a carved piece with female
and crowned male figures.
Three pieces are plainly Elizabethan in period, as shown by the elaborate
ribbon or interlaced strap and rosette design, although the style also appears
in France. Number 3 is a fine example of the style prevailing in the second
half of the sixteenth century. Figiires of a vmicom and of a boar occupy the
two upper panels. Another of this group is more elaborately carved with
all-over finely wrought design of closely interlaced strap and rosette work.
In the third "piece of the group, the same or similar design is carved on five
broad bands divided by narrower plain spaces. A fine entire chest of this
period, the front of which is richly carved in the same style, serves to illustrate
the nature of the exhibit. Another, similar in design but of obxdously later
date, also is interesting as showing the early introduction of the Renaissance
cherub — as well as the use of the carved moulding as a frame to the panels.
The other four fronts are of the seventeenth century. Three of them are
dated, a fact which removes the possibility of a doubt, but even were this not
so the style of their decoration must prove them to be of much later date than
those described above. For instance, while they affect to reproduce the linen-
fold pattern, inspection at close range shows the paneling to be a groove and
BULLETIN OF THE PENNSYLVANIA MUSEUM
Early Sixteenth or Late Fifteenth Century, France
Linen Fold Design
Sixteenth Century, France
BULLETIN OF THE PENNSYLVANIA MUSEUM 53
reed design, which more or less simulates the original linen-fold idea of earlier
times. These grooved and reeded panels are adorned in the center with bands
of guilloche or rope pattern, as in No. 4, the date of which is 1631. In another,
the date of which is 1650, the center of the chest is a band with rosette and
broad interlaced strap-work. In a third, the central band is of carved work
that recalls window carvings of Gothic stone-work; while the fourth shows a
■central band of interlaced and elaborate strap-work, besides intersecting bands
of guilloche work separating the grooved and reed paneling.
The linen-fold patterns were largely used toward the end of the ' ' perpen-
dicular" st5de, which was characteristic of English domestic architecture in
the fifteenth century. To this period, says Hayden ("Chats on Old Furniture,"
p. 63, ed. 1909), belongs the superb wood-work of the famous choir stalls of
Henry VII's Chapel in Westminster Abbey. The same author (p. 60) repro-
duces a bench of oak, French, about 1500, with locker coffer seat, in panels of
linen-fold for sole decoration; and a French carved oak coffer of the second
half of the sixteenth century decorated in interlaced strap-work and rosette
in the style of our chest No. 3 and the other numbers of that group in the
Mcllhermy collection define the period as that accorded to the latter.
The early Tudor mansions retain the formal pattern of mouldings, with
panelings of linen-fold which survived from the fifteenth century. These are
superseded by the strap-work of the Elizabethan period as appears in the
French carved walnut door showing ribbon work now in the Victoria and
Albert Museum. This dates from the latter part of the sixteenth century and
is decorated with guilloche and interlaced strap or ribbon work.
The Mcllhenny collection is a most interesting one and its details afford
students of Gothic industrial art much food for study. It is said to have been
purchased in Brittany.
If, broadly speaking, the history of furniture may be said to be that of
civilization, the history of the chest may be said to be the history of furniture.
While it belongs to every epoch and plays a part in the equipment of the ancient
civilizations, the period of its highest dominance was the middle ages. The old
Roman name of ' ' area ' ' survived in Western Europe in one of the names used
to designate the chest — English "ark;" French, "arche;" but the chest also
went in France by the name of "bahut," "met" and "huche" — English
"hutch" — and the latter name served to designate the artisans cabinet-makers
who carved and built these chests as "butchers" (English) or "huchier"
(French). Originally the "bahut" was a wicker coffer covered over with hide
and used when traveling. It was distinguished from the "coffre" or chest
proper, which being of strong wood was heavier. Their chests followed the
lords everywhere through the continual displacements of feudal times. In
these were carried bedding as well as clothes and other personal paraphernalia.
And when at rest, they became seats or even beds. In time, when raised on
four feet and left open in front, they became a dresser. The chest also formed
the basis of the marriage chest and of the cabinet as well as of the sideboard
and the wardrobe. With a canopy, it took its place in the seigneurial hall and
the lord and lady of the manor there received their guests. Here also the lord
dispensed justice and in the latter function, as part of the judicial equipment,
BULLETIN OF THE PENNSYLVANIA MUSEUM
Interlaced Strap and Rosette Design
Reed and Groove Design with Guilloche
Seventeenth Century (1631). Northern France
BULLETIN OF THE PENNSYLVANIA MUSEUM 55
the bench to this day in the EngHsh language has survived, preserved in the
feudal dignity of the early tribunal.
Within the recesses of the coffer-bench — in French "banc," Italian "banco "
— the money-changers kept their money And this custom, as well as the part
played by the arche bench in early financial life, is to this day embodied in the
bank, French "banque," Italian "banca" — hence the "banker," who from the
money-lender and money-changer who kept his treasure in his "arche-banc,"
has become the ruling power of the world. (Havard. Diet, de I'Ameublement
et de la Decoration. Articles, "Banc," "Bahut," "Coffre," "Huche," etc.
See also Viollet-le-Duc. Diet, du Mobilier Frangais).
The oldest specimens of chests extant, dating of the thirteenth century,
are rough boxes. The joiners' work is poor and the decoration is formed of
admirably wrought iron panels of rich spiral design. The surface of the wood
is dissimulated beneath a covering of skin or of painted linen now destroyed.
Churches in England, France and Germany still preserve these relics of
ecclesiastical furniture. In the fourteenth century, in those countries carving
replaced this iron plating. Carved figures of warriors and panelings are seen,
of which ornate Gothic windows furnish the design. In time, with increased
elaboration, armorial bearings appear. Very different are the Italian cassoni
of the period in which are used gilt and gesso or other plaster combinations, and
to adorn which the best painters are employed, although Italy produced also
carved wooden chests.
The close relations between Italy and France under Charles VIII intro-
duced the style of the Italian Renaissance artists into western Europe, notably
on the Loire, where Charles established skilled Italian artists. Also at Chateau
Gaillon several skilled artists went to work carving delicate traceries of ara-
besques that seemed copied from the marble tombs of Tuscany and Lombardy.
The chests of that epoch in Normandy and Touraine are marvels of taste with
their delicate efflorescences.
In France, the heyday of the chest expired about the end of the sixteenth
century with the development of furniture; but it survived in the provinces;
and in England its reign was prolonged.
S. Y. S.
THE COMING TAPESTRY EXHIBITION
Tapestries are a fascinating form of art. Their large scale makes them
easy to appreciate even from a little distance, and their story interest attracts
many who care not at all for abstract pictures. Especially do they appeal,'
on account of their extraordinarily beautiful texture, to lovers of Oriental
rugs. So that the exhibition of tapestries to be held in the Pennsylvania
Museum for two weeks beginning Monday, October 25th, will be an important
feature of the artistic life of Philadelphia this autumn. There will be shown
more than forty immense picture cloths, some owned in Philadelphia, the rest
56 BULLETIN OF THE PENNSYLVANIA MUSEUM
borrowed for the occasion from New York. All periods and all countries will
be represented — Gothic, Renaissance, Baroque, Rococo and Classic, Flemish,
French, Italian and Spanish, as well as ancient Coptic and Peruvian, and
modem Chinese, Japanese, and American.
A Gothic tapestry to be exhibited, subject, "Bathsheba at the Bath," is.
ten feet eight inches high, by thirteen feet six inches wide, and compares favor-
ably with the best in the famous Royal Spanish collection, acquired by the
kings of Spain when Brussels, where the tapestry was woven, at the beginning
of the sixteenth century, was under Spanish dominion. Indeed, of one piece
in the Royal Spanish collection, this tapestry is an almost exact duplicate,,
the principal difference being that the Spanish one has a Latin caption in the
top border, telling the story. The caption reads as follows:
Bersabee. corpus, lavit.
Quam. ex. adverse, vidit. David.
Pro. ilia. suos. destinavit.
which means that David no sooner saw Bathsheba, than he was struck by her
beauty and sent for her.
This tapestry is an example of the extreme modesty with which Gothic
tapestries treat episodes that from Renaissance or later looms wovdd emerge
immodest. We all know how Giulio Romano or Frangois Boucher would have
pictured "Bathsheba at the Bath." But here we see her daintily laving her
fingers without a suggestion of nudity above the wrist, and not at all decollete,
as compared with the evening costumes of ladies of today.
The decorative details of the tapestry are unusuallj^ important, especially
the Gothic architecture of the fountain, and of the pa\'ilion in the upper right
corner of the tapestry, at the entrance of which stands King David, sceptre
in hand, looking admiringly at Bathsheba. The fine linen towel carried by
Bathsheba's maid has a macrame fringe and apparently a lace border. The
costumes are exquisitely rich, and the border of the tapestry is a most delight-
ful composition of leaves and fruit. In the general plan of the tapestry the
influence of the Renaissance begins to appear in the opening up of the land-
scape to the rear, but in weave and texture the tapestry is wholly and delight-
fully Gothic, and one of the most perfect accomplishments of the Golden Age-
This is a prize that would make any museum a tapestry museum, and
attract the attention of lovers of art to any city. There is also a "Bathsheba
at the Bath" in the Brussels Museum, which came from the Somzee collection
in 1901, woven from the same design, but greatly and gracefully extended on
the right and on the left. In the Cluny Museum there is a set of ten David
tapestries, one of which pictures Bathsheba at the Bath, all much higher and
larger than that described above, and enriched wdth gold.
Another tapestry to be shown, the Renaissance "Prophets and Kings,"
eleven feet eight by fifteen feet two, also pictures a Bible story. What this-
story is, the Latin caption in the top border makes clear. It is verse 10 of
chapter 22 of I Kings, and in the English version reads; "And Ahab the king
of Israel, and Jehoshaphat the king of Judah, sat each on his throne, having
put on their robes; and all the prophets prophesied before them." The two.
BULLETIN OF THE PENNSYLVANIA MUSEUM 57
crowned and sceptred kings are seated on the right of the tapestry, the identity
of Ahab being marked by the letters ACHAP that appear on his right sleeve,
while the letters lOSAPHAT appear on the border of Jehoshaphat's mantle,
draping his left knee. The prophet in the foreground, whose left hand grasps a
huge trident, is Zedekiah with the letters GEDKIA upon his hat, while just
behind him stands Micaiah, with MUCH on the bottom border of his robe.
In the center of the scene, between prophets and kings, but a little in the back-
ground, with her name upon her gown, stands Ahab's beautiful wife, whose
wickedness has made Jezebel a word to shudder at.
Zedekiah and the rest of the four hundred prophets prophesied as Ahab
wished. Micaiah opposed him and was sent to prison. But Micaiah's
prophecy came true, and Ahab was killed in battle against the king of Syria.
The city that backgrounds the scene is Samaria.
This tapestry is one of a set of four from the famous Somzee collection
that was sold in Brussels in 1901 . It was woven in Brussels in the third quarter
of the sixteenth century, and has the Brussels mark, two B's on each side of a
shield, woven into the bottom selvage. The weaver's monogram, that has
suffered at the hands of time and of the repairer, was originally formed of the
These and the other tapestries to be shown at the coming exhibition, will
be fully described, and many of them illustrated, in a special handbook and
catalogue prepared for the purpose by Mr. George Leland Hunter, author of
the standard work, "Tapestries, their Origin, History and Renaissance," who
is organizing and arranging the exhibition for the Museum.
The catalogue will be on sale at the Museum on and after October 25th,
or may be obtained by applying to the Secretary of the Pennsylvania Museum,
Memorial Hall, Fairmount Park, Philadelphia. Price 25 cents.
During the course of the exhibition, Mr. Hunter will give free lecture
promenades on tapestries, developing in a way easy to understand, their texture
interest as well as their picture and story interest, to art and architectural
societies and others. These lecture promenades will be by appointment only,
and appointments can be made before October 25 th by mail or telephone to
the Director of the Pennsylvania Museum, Memorial Hall, Fairmount Park,
Among the recent purchases for the Museum are two Chinese glazed,
ridge tiles, or finials, of the Ming Dynasty, measuring twelve and a half and
thirteen and a half inches respectively. These make an interesting addition
to the Museum's collection of tiles, which is quite extensive and varied.
A Spanish water jar, or fountain, of the eighteenth century is an unusual
example of old Granada maiolica, decorated with bold floral and bird designs;
BULLETIN OF THE PENNSYLVANIA MUSEUM
Glass Flasks ix Various Colors
By Henry William Stiegel, 1765-1774
Maiolica Jar, or Cistern
Eighteenth Century. Granada, Spain
BULLETIN OF THE PENNSYLVANIA MUSEUM 59
in blue, and possessing four handles connected by rope-like festoons in green
Two Chinese cameo-carved glass vases, of the Ch'ien-lung period, are
valuable additions to the glass collection. One is decorated with relief designs
in blue on a milk-white ground, while the second example is carved through a
layer of red glass. These vases measure seven inches in height.
To the Frishmuth Antiquarian Collection has been added a series of old
nautical instruments, consisting of telescope, log, reflecting circle, quadrant
sextant, compass, etc.
There are probably no more important examples of old Rouen faience
in this country than a pair of albarelli, or drug jars, lately acquired by the
Museum. These jars measure over twelve inches in height, being larger than
the usual pieces of this form. They are covered with a heavy coating of white
tin enamel and beautified with bands of elaborately painted patterns in what
are known as the "Lambrequins" and "Broderie" styles, that is to say ara-
besque and conventional designs suggested by the embroidered hangings of the
period. At first the designs of Rouen faience were painted in blue on the white
ground, but later a peculiar red was introduced in addition, and at a still more
recent period polychrome painting came into vogue. The decorati\-e patterns
were painted on the unbaked enamel, a style of treatment which the French call
peinture sur email cm, the result of which was that the colors were fused with
the enamel, becoming incorporated with them, and presenting the appearance
of underglaze painting. There cannot be such a thing as decoration under the
glaze, however, when tin enamel is used, as the latter is entirely opaque and
would entirely obscure anj-thing over which it should be applied. The inglaze
treatment, therefore, most nearly approaches underglaze decoration. The
later French tin enamel factories made wares which were ornamented over the
glaze, that is to say painted on the fired enamel. The two albarelli, here shown,
are painted in blue and red and are of the first half of the eighteenth century.
In pottery the lustered faience of Spain, known as Hispano-Moresque ware,
is considered to be the highest achievement of the potter's art, as Chinese
porcelain is the acrne of the art in vitrified wares. The Museum has acquired a
fine example of the former, which illustrates the best epoch of luster painting.
It is a plaque, eighteen inches in diameter, and belongs to the sixteenth century.
The decoration consists of embossed godroons diagonally disposed around the
marly and painted in luster in two patterns, known as the wheel and the
arabesque, arranged alternately. In the center is a raised boss which is orna-
mented in hister with the figure of a wolf (?), surrounding which are bands of
wheel and leaf patterns. The luster, obtained from gold, is remarkably brill-
iant, of a yellowish brown, which changes, when viewed from different angles,
to a beautiful golden, rose, lilac, blue and madreperla, with touches of green,
surpassing in prismatic qualities the iridescence of a soap bubble. The white
tin enamel and the luster reveal a Saracenic origin, but the painted pattern
shows the influence of the Spanish potters, who, in the sixteenth century, were
gradually drifting away from the Moorish methods and introducing a Spanish
style. In the fourteenth century, the Hispano-Moresque ware was purely
Moorish, while in the fifteenth the Arabic treatment was combined with Spanish
BULLETIN OF THE PENNSYLVANIA MUSEUM
Tin Enameled Albarelli
Early Eighteenth Century. Rouen, France
Sixteenth Century. Decorated in Luster
BULLETIN OF THE PENNSYLVANIA MUSEUM
elements in the introduction of mock -Arabic and Christian inscriptions, coats-
of arms and other motives. Throughout the fifteenth and sixteenth centuries
the quaHty of the luster had greatly improved, but the decadence commenced
in the seventeenth, and in the following century the cangeant luster was super-
seded by a coppery and tinselly luster and the tin enamel gave place to a
Carved and Gilded Arm Chair
Empire Period, French
cheaper glaze, in which lead largely took the place of the more expensive tin.
The plaque which the Museum has secured fills a gap in the series of Hispano-
Moresque pieces and forms a connecting link between the examples of the
fifteenth and seventeenth centuries.
A pair of French chairs of carved and gilded wood have been secured for
62 BULLETIN OF THE PENNSYLVANIA MUSEUM
the Empire alcove of the furniture room. The backs and front frames of the
seats are covered with relief ornamentation in different patterns. The fronts
of the arms are modeled in the semblance of animals' heads and are extended
to form legs which terminate in lions' paws, the intermediate parts being carved
with acanthus-leaf and fluted bands. These chairs are good examples of the
massive furniture of the early nineteenth century, which became popular in
France after the Egyptian campaigns of Napoleon I.
E. A. B.
The death of Mr. John Thompson Morris, which occurred on August 15,
1915, has removed from the Board of Trustees of the Pennsylvania Museum
and School of Industrial Art one of its oldest and most active
members. Mr. Morris became a trustee of the Institution
in 1892 and served continuously until his death — a period of
twenty-three years. From 1897 to 1904 he was one of the
vice-presidents of the corporation, but it was as a member
of the Museum Committee that he found his most congenial
field in the work of the Institiition. He was always a liberal
patron of the Museum and the School and his gifts exceed in
importance and value those of any other individual. Pos-
sessing rare judgment and gifted with unerring taste, he was
largely instrumental in shaping the policy of the Museum,
while his ad\'ice and approval were always sought by his associates on the
Museum Committee in the selection and purchase of objects of art.
Exhibition of Tiles. — Beginning October 4th, the collection of roofing,
paving and wall tiles belonging to the Museum will be exhibited in the Rotunda
until further notice. Man^^ of these tiles, now gathered together for the first
time, have hitherto been scattered through the building in the exhibits of
various countries and others have been stored away because of the lack of
space to display them. The Museum's exhibit has been temporarily aug-
mented (for October) by loans of rare examples from other collections.
The exhibition includes characteristic examples from Babylonia, Egypt,
Rome, Persia, India, China, Japan, Turkey, Spain, Mexico, Italy, Holland,
England, Belgium, German}', Russia and the United States, covering a period
beginning som.e centuries pre\'ious to the Christian Era, down to the end of the
Of special importance is the series of maiolica tiles of the seventeenth and
eighteenth centuries, made in Mexico under Spanish influence, being probably
the largest and most representative collection of the kind in existence. The
Saracenic and Persian tiles and architectural panels, dating from the thirteenth
century and later, are also of surpassing interest, and among more modem
BULLETIN OF THE PENNSYLVANIA MUSEUM 63.
productions the Spanish and Russian tile panels, which were first exhibited at
the Centennial Exhibition in 1876, are noteworthy.
An illustrated and descriptive catalogue has been printed, which may be
purchased at the Museum, or will be mailed to any address on receipt of 20
cents. Application should be made to the Secretary, Pennsylvania Museum,
Memorial Hall, Fairmount Park, Philadelphia.
School Notes. — The sessions of the School opened on September 20th,
one week earlier than hitherto, which will permit the closing of the classes at
the end of the year proportionately earlier, thus avoiding the extreme heat
usually obtaining in June, and enabling many persons to attend the annual
exhibit and commencement exercises, who lea^-e the city at the beginning of
During the summer Mr. Stratton, Mr. Ege, Mr. Sifinock, and Mr. Aadrade
visited the expositions at San Francisco and San Diego, to study the educa-
tional exhibits sent from the schools of the two Americas. The comparison
was most favorable to the work of the pupils of this institution, which was
shown to be particularly strong in design, interior decoration, modeling and
The new class in Printing and Typographical Design will open October 4th-
This is the first class, organized in this city, devoted to the principles involved
in producing excellence in printing, and its progress will be watched with
interest. Mr. Otto Frederick Ege will be instructor in charge, and will have
the advice and assistance of such practical men as Mr. Edward Stem and Mr.
Maurice Weyl, of the Edward Stern Company, Mr. E. Lawrence Fell of the
Franklin Printing Company and Mr. Byron W. Isfort of the Curtis Publishing
Company. These men and others are encouraging apprentices, compositors
and pressmen to attend this class, and in several instances giving financial
assistance to them.
The programme of the Evening Interior Decoration Class has been
re-adjusted to meet the needs of furniture salesmen and decorators. One
evening of each week will be devoted to the discussion of the principles of
interior design, use of color, the evolution of period furniture, and the present
day use of these periods. The other evenings will be devoted to the practice
of designing interiors. The discussions will he illustrated by numerous photo-
graphs taken during the past summer by Mr. Edward Warwick, who will have
charge of the class.
The class enrollment of the July Summer Session included representative
teachers of drawing, and supervisors of Art from several states. The increased
enrollment and the results obtained were most gratifying.
It is hoped the effective work done by Miss Lea and her Committee in
connection with the League House for the girl students of the School wi'l soon
be supplemented by a similar organization for the young men. There is always
diffiiculty in finding good boarding, and this year it has been particularly hard
to secure proper accommodations. Ths League House stands as a beacon in
a wide sea of waste places.
•64 BULLETIN OF THE PENNSYLVANIA MUSEUM
Mr. John Sinnock, a member of the School faculty, is at present working
on a series of sgraffito panels and three mural decorations for the new Rose-
mont School. The subjects of the decorations deal with incidents in American
The plans for a comprehensive poster and advertising display, proposed
by Mr. Carol Aronovici last spriuiT have now taken definite form. It has been
decided to hold the exhibition and lectures in the School the latter part of
November. A local committee of representative men is now formulating the
preliminary plans and expects to co-operate with a national committee that wiU
be organized shortly.
The two cases of potterj- in the Exhibition Room at the School, one con-
taining salt glaze stoneware the other sgraffito pottery, have attracted no
little attention among visitors and prospective students. The exhibit in
Washington has been of interest to many who came later to see the School and
inquire about the courses. The kiln containing the sgraffito pottery made by
Leon Corson this summer is about to be closed up and fired. This work has
been beautifully illustrated and described in a recent number of Good Furnitttre.
A duplex porcelain pebble mill for grinding glazes has been purchased and is
about to be installed. This is operated by an attached motor and will grind
glazes in quantity without attention and at a very small cost per hour. A great
number of color experiments have been made to be used in connection with the
pottery made by Mr. Corson. These colors are unusual and interesting.
BULLETIN OF THE PENNSYLVANIA MUSEUM
July— September, 1915
Horn Comb, Elaborately Carved
Large Porcelain Vase, Imitation of Sevres
Stoneware Urn, Wedgwood. English, 1886
Porcelain Vase, French, c. 1830
2 Albarelli, Faience, Rouen. France, c. 1740
Maiolica Plaque, Valencia, Spain. Sixteenth Century.
Carved Walnut Chair, Florentine
Collection of 9 Gothic Chest Fronts. English. Six-
teenth and Seventeenth Centuries
Spinning- Wheel, American, Early Nineteenth Cen-
Wooden Clock with Brass Mounts, by John Taylor,
10 Pieces of Pewter, American, Early Nineteenth
Landscape, by Carl Milner
Pie-Server, Sheffield Plate, English. Eighteenth Cen-
2 Coats and 3 Waistcoats, French. Louis XVI Style. .
8 Dolls .
Lent by Mrs. Milne Ramsey.
Bequest of Mr. Francis T. S. Darley.
Given by Mrs. Frederick T. Mason.
Bequest of Mr. Francis T. S. Darley.
Lent by Mr. John D. Mcllhenny,
' Given by Mrs. Frederick T. Mason.
Lent by the Commissioners of Fair-
Lent by Mrs. Edwin A. Barber.
Lent by Mrs. Milne Ramsey.
Lent by Miss Mary E. Sinnott.
The Trustees of the Pennsylvania Museum
and School of Industrial Art desire the
active co-operation of all public-spirited
citizens who are known to be in sympathy
with its educational work. All such persons
are invited to become members.
CLASSIFICATION OF MEMBERS
Patron Members in Perpetuity — Those
who contribute the sum of $5000 or more
whether in money or objects for the Museum.
Fellowship Members in Perpetuity — Those
who contribute $1000 at one time.
Life Members — Those who contribute the
sum of $100 or more at one time.
Annual Members — Those who contribute
not less than SlO yearly.
The contributions received from Patrons
($5000), and from Life Members ($100), are
added to the permanent Endowment Fund.
Contributions from Annual Members ($10)
are used to the best advantage in the de-
velopment of the Museum and the School.
ADVANTAGES OF MEMBERSHIP
All members are entitled to the following
The right to vote and transact business
at the Annual Meeting.
Invitations to all general receptions and
exhibitions held at the Museum and the
Free access to the Museum and School
Libraries and admission to all lectures.
Also a copy of each of the following pub-
The Annual Report of the Corporation.
The Annual Circulars of the School of
Applied Art and the Philadelpliia Textile
The Art Handbooks and Art Primers,
issued from time to time by the Museum
(a printed list of pubhcations will be mailed
to any member on application).
The Illustrated Quarterly Bulletin of the
A hst of members is published each year
in the Annual Report.
AppUcations for membersliip, and remit-
tances should be sent to the Secretary,
P. M. & S. I. A., Memorial Hall, Fairmount
Park, Philadelphia, Pa.
HOURS OF ADMISSION
The Museum is open, free to the public,
every day in the year.
Mondays at 1 2 M.
Other Week Days at 9.30 A. M.
Sundays at 1 P. M.
During the summer months, 5 P. M.
(Sundays, 6 P. M.)
During the winter months, a half hour
CATALOGUES, HANDBOOKS, ETC.
(On sale at the South Entrance)
Handbook of the Museum $0. 25
A Brief History of the Bayeux Tapestry . lO"
Cork Models of Windsor Castle, Tower
of London, Westminster Abbey,
Church of St. Peter, Rome 10-
The Great Seals of England 25
Handbook of the Collection of Tulip
Ware of the Pennsylvania-German
Paper cover 1.00-
Large paper edition. Cloth 5 .00-
Handbook of the Maiohca of Mexico:
Paper cover 1 . 00-
Flexible Art Canvas 2 . 00'
Art Primer No. 3, Lead Glazed Pottery .50'
Art Primer No. 5, Tin Enameled Pot-
Art Primer No. 6, Salt Glazed Stone-
Art Primer No. 9, Hard Paste Porce-
Art Primer No. 11, Artificial Soft Paste
Bulletin of the Pennsylvania Museum
(quarterly), per annum 1 . 00'
Friends of the Institution who desire
to devise to it money should use the fol-
Form of Bequest
I give and bequeath unto the Pennsyl-
vania Museum and School of Industrial Art
the sum of dollars
for the use of the said Corporation.
Form of Devise of Real Estate
I give and devise unto the Peimsylvania.
Museum and School of Industrial Art, its-
successors and assigns, all that certain (here
insert a description of the property) for the
use of the said Corporation.
AND SCHOOL OF INDUSTRIAL ART
John Story Jbnks, Chairman Edgar V. Seblkr
Thomas Skblton Hahwson Mrs. W. T. Carter
ToHN H. McFadden Mrs. W. D. FRisHMnra
OHN D. MclLHENNY MrS. JoHN HaRRISON
[OHN W. Pepper Miss Pannib S. Macbb
Miss Elizabstb C. Roberts
Mrs. Rudolph Blankbnburg, Ex-OJSHcio
Edwin AtLee Barber, Director of the Museum
Mrs. Cornelius Stevenson, Assistant Curator and Lecturer
Textiles, Lace and Embroidery , Mrs. John Harrisom
Onental Pottery Mas. Jones Wistor
European Porcelam Rbv. Alfred Duanb Pmx
^s and Amor. ■■■■.■■ Corneuus Stevenson
Furmture and Woodwork Gustav Ketterer
Musical Instruments Mrs. W. D. Frishmotb
Numismatics F. D. Langenheim
Sculpture, Marbles and Casts .".".' .*.flj,EXANDER Stirling Caudw
Theodore C. Search, Chairman Mrs. F. K. Hippib
Charles Bond Miss Nina Lea
Mrs. John Harrison Mrs. Arthur V. Meigs
Thomas Skelton Harrison Mrs. Thomas Roberts
John Story Jenks Mrs. Joseph F. Sinnott
John D. McIlhenny Mrs. C. Shillard Smith
Edgar V. Seelkr Mrs. John Wister
James F. Sullivan Mrs. Jones Wistbe
Mrs. Rudolph Blanebnburc, Ex-Officio
ASSOCUTB COHICTTEB OV WOMBH TO THE BOAItD Ot TBUSTBBS
Mrs. Rudolpb Blaneenburg
Krrt Wee-Pre»iaenl Bttoat Vlc»«tMM«M
Miss Nina Lba Mrs. C Leland Hahbisok
Mrs. Henry S. Grove Mrs. Joseph F. Sunjorr
Mrs. Edwin Swift Balch Mrs. John Harrison Mrs. Charlbs Platt, 3d
Mrs, Jasper Yeates Beinton Miss M. S. Hinchman Mrs. Thomas Roberts
Mrs. John H. Bhinton Mrs. P. K. Hipple Miss Mary E. Sinnoti
Mrs. William T. Carter Mrs. Harold W. How Mrs. C. Shillard Smitb
Miss Margaret Clyde Mrs. J. L. Kbtterlinus Mrs. Cornelius Stevenson
Miss Ada M. Crozer Mrs. George G. M. Large Mrs. Edward T. Stotbsbcb'i
Mrs. David E. Dallam Mrs. Robert R. Logan Mrs. Wej-iam H. Walbavm
Countess Santa Eulalu Mrs. Howard Longstrbth Mrs. A. B. Wbimbs
Miss Cornelia L. Ewing Mrs. Arthur V. Meigs Mrs. John Wister
Mrs. George Harrison FrazierMrs. Jambs Mifflin Mrs. Jonbs Wistbb
Mrs. W. D. Frishmuth Mrs. Pranos F. Mn.NB
Mrs. W. W. Gibbs Mrs. Thornton Oakley
Mrs. M. Hampton Todd Miss Pannib S. Magbb Miss Eluabetb C. Robbbw